GO CORTEO Daniele Finzi Pasca’s creation for Cirque du Soleil features 61 aerialists, tightrope walkers, dwarfs and clowns spinning out a circus act of jaw-dropping visual beauty and physical precision around a clown (Jeff Raz), who imagines his own death and funeral procession. With Martin Labrecque’s ethereally beautiful lighting design, this is as close a depiction of a dream as you’re likely to find in the theater. Most of the clowning falls flat, and Act 2 concentrates on the Olympian gymnasts. Under the Grand Chapiteau in the parking lot of THE FORUM, 3900 Manchester Blvd., Inglewood; Tues.-Thurs., 8 p.m.; Fri.-Sat., 4 & 8 p.m.; Sun., 1 & 5 p.m.; thru Oct. 28. (800) 678-5440. (SLM)

THE QUALITY OF LIFE Jane Anderson’s direction of her own play tosses theatricality into the charred remains of the Northern California forest where most of the drama unfolds. Bill and Dinah (Scott Bakula and JoBeth Williams) travel from their Midwest abode to visit their cousins, Neil and Jeannette (Dennis Boutsikaris and Laurie Metcalf), now living in a tent after a fire vaporized their home. Into a very schematic and melodramatic duality, the play pushes emotional buttons with “life and death” issues attached like Christmas tree ornaments. The actors are terrific. GEFFEN PLAYHOUSE, 10886 Le Conte Ave., Wstwd.; Tues.-Thurs., 8 p.m.; Fri., 7:30 p.m.; Sat., 3:30 & 8 p.m.; Sun., 2:30 & 7:30 p.m.; thru Nov. 18; (310) 208-5454. (SLM)

GO WICKED In this musical riff on the witches of Oz (by Stephen Schwarz and Winnie Hollzman), Joe Mantello directs a marvelous spectacle that looks like a diversion but is actually quite the opposite. Eden Espinoza as the green-skinned, bespectacled girl-witch Elphaba has a contagiously smart appeal. After recognizing that Elphaba’s not going to power-play along with the Wizard’s (John Rubinstein) Stalinist shenanigans, Mrs. Morrible (the delightful Carol Kane) starts a witch-hunt for the girl, and the whole thing starts to resemble some of the tawdrier chapters in American history. PANTAGES THEATER, 6233 Hollywood Blvd., Hlywd.; Tues.-Fri., 8 p.m.; Sat., 2 & 8 p.m.; Sun., 1 & 6:30 p.m.; indef. (213) 365-3500. (SLM)

CHEKHOV MANIA: A RUSSIAN VAUDEVILLE The “Pan-Siberian Touring Co.” brings us three of Chekhov’s broadly comic one-acts (The Marriage Proposal, The Harmful Effects of Tobacco and The Bear — played here as The Boar), complete with vaudevillian interludes and even a dancing bear. The evening is emceed by Yakoff Chekhov (Mike Park), the supposed cousin of Anton, who bears a much stronger similarity to comedian Yakov Smirnoff. Unfortunately, the humor in the plays is so contextual that it is lost on modern audiences, turning comic exchanges into tedious tirades. THE ATTIC THEATRE, 5429 W. Washington Blvd., L.A.; Fri.-Sat., 8 p.m.; thru Oct. 27. (323) 525-0600. (MK)

DEAD BRIDE RUNNING Nothing seems quite right about this comedy, from the title’s untopical film reference to its desperate attempt to find a theme, or even a story. Written by Rick Sparks and Alice Vaughn, it’s about John Jr. (Craig Anton) and Jennifer (Tamara Zook), a Florida couple who, after a year’s chaste courtship, approach their wedding day — only to have Jennifer get cold feet and vanish. The plot’s underlying assumptions are so over-the-top that the story scores no points for either political satire or simple laughter. Theater Mambo at the UNDERGROUND THEATER, 1312 Wilton Pl., Hlywd.; Fri.-Sat., 8 p.m.; Sun., 4 p.m.; thru Nov. 4. (323) 960-5773. (SM)

EAVESDROPPER In Andrew Libby’s slightly funny, messy comedy, the mise en scène is an apartment where a large, clamant group of young people have gathered for some good times. Unbeknownst to the revelers, an uninvited guest (Pedro Shanahan) slips in and hides behind the shower curtain, his sinister presence embellished by a Mohawk hairdo, Goth makeup and drug-addled stare. The scenario is redolent of a wild frat party, with plenty of sex, drugs, booze and hell-raising. The rotating cast of 50-plus can’t do much good with this moribund material. No director is credited, and the reason is obvious. UNDERGROUND ANNEX THEATER, 1308 N. Wilton Pl., Hlywd.; Fri.-Sat., 8 p.m.; indef. (323) 365-8305. (LE3)

EENIE MEANIE See New Reviews.

GO EVEL KNIEVEL THE ROCK OPERA The titular subject of composer Jef Bek’s muscular musical is the motorcycle daredevil (Chuck DiMaria) who was as iconic to 1970s America as leisure suits and shag carpeting. Bek’s score and libretto (Jay Dover provides additional music and lyrics) captures the period’s adrenalized vocals, though there is a detectable sameness about the numbers, with power ballads overwhelmingly favored over the few down-tempo numbers. Nevertheless, the evening is an appropriately supercharged 90 minutes brought to life by an energetic ensemble. BOOTLEG THEATER, 2220 Beverly Blvd., L.A.; Thurs.-Sat., 8 p.m.; Sun., 5 p.m.; thru Oct. 28. (213) 381-7118 or www.ekrockopera.com.

THE GAS HOUSE Don Berlin (Marc Jablon) is a third-rate radio shock jock who’s been bounced from his program because of an on-air freak-out. Don’s visited by his poet wife, Adria (Supatra Hanna), from whom he is, he insists, “separated, not divorced.” It’s a tribute to the talent and passion of Jablon and Hanna, and the skill of director Suzanne Karpinsky, that eventually we do care about these people. But it’s hard to grasp why playwright William Donnelly felt this man was worth his trouble — or ours. SACRED FOOLS THEATER COMPANY, 660 N. Heliotrope Dr., L.A.; Tues.-Wed., 8 p.m.; thru Oct. 31. www.sacredfools.org. (NW)

HARVEY FINKLESTEIN’S SOCK PUPPET SHOWGIRLS Although its tinsel-and-posterboard aesthetic looks sweet, Harvey Finklestein and Jimmy McDermott’s all-puppet salute to Joe Eszterhas’ camp classic film Showgirls has enough aggressive sex and double D’s sprouting out of wrists to frighten Lambchop, Elmo and Big Bird back to TV. Oddly, however, there are diminishing returns in trying to satirize the movie’s outré sincerity, and each time one sock calls the other a whore, the joke gets less funny. Harvey Finklestein Productions at THEATRE ASYLUM, 6322 Santa Monica Blvd., Hlywd.; Fri., 11 p.m.; thru Nov. 2. (323)962-0046. (AN)

GO HOLLYWOOD HELL HOUSE 2007 Just like in an old-fashioned spook house, audience members travel from room to room while viewing all sorts of scary creatures. But because this script is a compilation of previous works by the Abundant Life Christian Center, the focus is on evangelical horrors: raves, gay people, premarital sex. Compiler Maggie Rowe has retained the heavy-handed didacticism of the original works, while director Jaclyn Lafer has lightened it up, tongue firmly in cheek, with the large cast delivering their message of Christian salvation in complete deadpan. ACAPULCO, 385 N. La Cienega Blvd., L.A.; Thurs.-Sat., 8:30 p.m. & every 15 minutes until 11 p.m.; thru Oct. 27. (323) 960-7822. (SR)

GO THE IDIOTS Somewhere between the insanity of Monty Python, the cynicism of Penn and Teller, and the stupidity of the Three Stooges exists this bizarre comedy by writer-performers Craig Anton and Ron Lynch. The conceit framing their wild physical and verbal antics is the reunion of two rivals — respectively the sons of Watson and Crick, who discovered DNA. With the appearance of a guest comic, the hour show flies by with humor and even some human insight and pathos beneath the Idiots’ smug stupidity. STEVE ALLEN THEATER at the Center for Inquiry–West, 4773 Hollywood Blvd., Los Feliz; last Thurs. of the month, 8 p.m.; indef. (800) 595-4TIX. (TP)

JIM MORRISON: SWIMMING TO THE MOON Few stars of Rock’s Golden Age had personalities more inscrutable than The Doors’ Jim Morrison. Still, it’s hard to believe that Morrison had much in common with the one-dimensional character depicted in playwright Gary Flaxman’s dreary metaphysical bio-drama. Flaxman’s script is suffused with a commendable affection for Morrison. Yet, the play is also long-winded and static to point of being one lengthy drone — a problem that’s exacerbated by director Judy Rose’s humorless and anemically paced staging. 44th St. Productions LLC at the ART/WORKS THEATRE, 6569 Santa Monica Blvd., Hlywd.; Thurs.-Sat., 8 p.m.; Sun., 7 p.m.; thru Nov. 11. (323) 960-4412. (PB)

JOURNEY TO DOLLYWOOD In playwright Jessie McCormack’s sprightly, Southern-fried dramedy, the author plays the role of Jolene, a hard-bitten young waitress who is toiling her life away. Trapped in a dead-end relationship with her dim-bulb boyfriend (Erick Van Wyck), and forced to tend to her hateful, ailing trailer-trash mama, Jolene finds solace in an obsessive passion for the music of Dolly Parton. McCormack’s plot-lite story line falters with an awkward and strangely irresolute finale, but the piece goes a long way on the charm of its snappy dialogue and flashes of pathos, under director Rod McLachlan’s intimate staging. MATRIX THEATRE, 7657 Melrose Ave., L.A.: Thurs.-Sat., 8 p.m.; thru Nov. 3. (323) 960-4418. (PB)

GO LIMONADE TOUS LES JOURS In Charles Mee’s delectable romantic confection, Ya Ya, a French nightclub singer in her early 20s, protests to Andrew, the middle-aged American tourist whom she not-so-subtly hit upon in a Paris café, that a relationship between them could never work; and he says the same. Still, they plunge into a passionate May-December romance. The script’s main tension comes from the contrast — blueprinted with savvy by Mee and artfully depicted under Michael Connors’ direction. HUDSON MAINSTAGE THEATRE, 6539 Santa Monica Blvd., Hlywd.; Wed.-Sat., 8 p.m.; Sun., 3 p.m.; thru Nov. 10 (added perf Nov. 10, 3 p.m.). (323) 960-7785 or www.­plays411.com/limonade.

GO LOST ANGELES This world premiere comedy by Caroline Treadwell deals with the lives of 10 Angeleno Gen-Xers who are trying to find meaning in their lives. What begins as a series of Starbucks jokes, riffs on pop culture and tempest-in-a-teacup drama turns into a funny and sometimes sweet examination of finding oneself, “or somebody better.” Joe Camareno’s directing is excellent in its quick transitions, physicality and bold use of simultaneous action. Despite its great comic moments, Treadwell’s play could stand some editing to tighten up the story. THE LILLIAN THEATRE, 1076 N. Lillian Way, Hlywd.; Fri.-Sat., 8 p.m.; Sun., 7 p.m. (added perfs some Thurs., 8 p.m.; call for schedule); thru Nov. 18. (323) 960-7774. (MK)

GO MAX MAVEN THINKING IN PERSON Max Maven cuts a figure that could have been carved by Edgar Allen Poe. In much of his solo performance — a magic and mind-reading act — Maven wields his intelligence, erudition and powers of memory over the audience with a blend of self-deprecation and haughtiness. I’m a poor judge of how impressed I should be that, in 20 seconds, Maven could identify the missing card from a full deck of playing cards. I was amazed by how he could remember the names of all five volunteers for a demonstration. Amit Itelman directs with keen attention to the crescendos of suspense. STEVEN ALLEN THEATER, 4773 Hollywood Blvd.; Sat., 8 p.m.; thru Nov. 3. (800) 595-4TIX. (SLM)

OUT OF YOUR MIND! Theatergoers sip wine at a tasteful private home until a pushy assistant director (Patrick Censoplano) announces the first of Steven Kane’s two short plays, In the Night of the Bed. The man (Andrew Macbeth) claims to be an extra, only this isn’t a movie, but Molly’s (Kelly Anne Ford) dream, and the rest of the cast are the regrets and pains she revisits every night. Less pat and engaging is Rhinovirus, a chipper sci-fi saga set in a future New New York where pain, suffering and disease have been criminalized. Under Jane Lanier’s direction, the staging is intimate, but the acting is as broad as the Grand Canyon. GuerriLA Theatre at a PRIVATE RESIDENCE, 2806 Nichols Canyon Place, L.A.; schedule varies, call for info; thru Dec. 8. (818) 972-2467. (AN)

GO POINT BREAK LIVE! Jaime Keeling’s merciless skewering of the 1991 hyper-action flick starring Keanu Reeves and Gary Busey is loaded with laughs as well as surprises, like picking an audience member to play Reeve’s role of Special Agent Johnny Utah. The city’s banks are being hit by a gang of robbers known as the Ex Presidents, surfers who always wear the masks of former chief executives while making their withdrawals (in this version Ms. Condi Rice makes an appearance). Utah gets his man, but not before a Grand Guignol scene of blood and guts that’s so hideously over the top you can’t stop laughing. Charlie O’s in the ALEXANDRIA HOTEL, 501 S. Spring St., dwntwn.; Fri.-Sat., 8 p.m.; indef. (866) 811-4111 (LE3)

THE ROOM Tycoon Vincent Astor (Shawn MacAulay) establishes a salon for New York’s best and brightest — and the richest — to discuss the Great Issues that are leading up to WWII. This is the sort of drama in which characters sit around holding whiskey glasses, saying, “Ah, that Hitler fellow will never come to power!” Writer-director Michael Franco’s staging is both atmospheric and intimate, yet the pacing flags appallingly midway through and, with the lack of dramatic conflict and suspense, ultimately proves fatal. Open Fist Theatre, 6209 Santa Monica Blvd., Hlywd.; Fri.-Sat., 8 p.m.; Sun., 7 p.m.; thru Nov 18. (323) 882-6912. (PB)

SKIN OF HONEY The Cuban revolution provides the backdrop for Odalys Nanín’s play about lesbian lovers. Two school girls, Amelia and Isabel (Lidiya Korotko and Andrea Rueda) pledge eternal love, but after the brief imprisonment of Amelia’s father (Ray Michaels Quiroga) by Castro, Amelia reluctantly leaves Cuba for Miami with her family. In contrast, Isabel is a Fidelista, who eventually becomes one of Castro’s mistresses. Some of the dialogue is overly didactic, slowing the drama. Flashbacks are smoothly incorporated into the narrative thanks in part to Mia Torres’ clever set design. MACHA THEATRE (formerly The Globe), 1107 N. Kings Road, W. Hlywd.; Fri.-Sat., 8 p.m.; Sun., 7 p.m.; thru Oct. 28. (323) 654-0680. (SR)

GO TURNS OUT I’M FUNNY The brilliance of Mary Lynn Rajskub’s standup act stems from a kind of bewildered, inarticulate persona who goes off on digressions and deliberately neglects to finish stories. The disarray is a con; by show’s end, it all adds up. Because of Chloe — her character on Fox’s 24 — she says she was invited to a counterterrorism panel hosted by Rush Limbaugh, who, in a moment of introduction, accidentally kissed her on the lips. After rumors of their affair spread around the country, she says she e-mailed Limbaugh, asking for a date — the response was blistering. STEVE ALLEN THEATER at the Center for Inquiry–West, 4773 Hollywood Blvd., Hlywd.; Sun., 8 p.m.; indef (no perfs first Sun. of the month). (800) 595-4TIX. (SLM)

GO WRECK OF THE UNFATHOMABLE On a bare stage, playwright/director Christopher Kelley tosses The Tempest into the air like a salad, and when it lands on the stage, Shakespeare’s fantasia of political rivalries, of mystical powers being surrendered, of castaways being set free into a wide-open and presumably new world have all been rearranged with 21st century resonances. Not that this has anything to do with modern dress or the war in Iraq. Some greedy moron set the shipwreck afire, now these people must now live with each other. Kelley’s sumptuously written play-closing chorale is a desperate prayer for a new world that floats, like a gull, mere inches above an ocean of despair. THEATRE OF NOTE, 1517 N. Cahuenga Blvd., Hlwyd.; Thurs.-Sat., 8 p.m.; thru Nov. 17. (323) 856-8611. (SLM)

GO ZANNA DON’T There’s something strange about a gay-friendly musical in which the characters are homosexuals at the beginning, but magically turn straight by the end. Is this lurking gay self-hatred, or perhaps a crossover ­strategy? Writer-composer Tim Acito (with additional material by Alexander Dinelaris) has created a clever, fast-­moving show that relies more on charm than logic. Director Nick DeGruccio shepherds a young cast through a crowd-pleasing romp. Musical direction, choreography and technical credits are all top-notch. West Coast Ensemble at the LYRIC-HYPERION THEATRE, 2106 Hyperion Ave., Silver Lake; Fri.-Sat., 8 p.m., Sun., 3 p.m.; indef. (323) 906-2500. (NW)

CANNED PEACHES IN SYRUP Playwright Alex Jones’ bleak post-apocalyptic comedy imagines an environmental wasteland populated by nomadic bands of foragers who tend to either be vegetarians or cannibals. The conversations in both camps are dominated by scatological references and gross-out observations. The story has a Romeo and Juliet theme, but this production, directed by Dámaso Rodriguez, is held up more by the strength of its over-the-top performances than anything the play has to say. FURIOUS THEATRE COMPANY at PASADENA PLAYHOUSE, 39 S. El Molino Ave., Pasadena; Thurs.-Sat., 8 p.m.; Sun., 7:30 p.m.; thru Nov. 10. (800) 595-4TIX or www.furioustheatre.org. (SM)

GO CESAR & RUBEN Most of Ed Begley’s spirited musical tribute to labor activist Cesar Chavez (Danny Bolero) and L.A. Times labor reporter Ruben Salazar (Mauricio Mendoza) essays Chavez’s story. In Act 2, we learn of Salazar’s tragic shooting by an L.A. County Sheriff’s deputy at a 1970 Vietnam War protest. For the sake of balance and the underlying reasons that these two men meet, more needs to be dramatized about the Latino journalist. Under Begley’s smart direction, Bolero and Mendoza are rock solid, and the lives of their characters unfold with compelling interest. NOHO ARTS CENTER, 11136 Magnolia Blvd., N. Hlywd.; Thurs.-Sat., 8 p.m.; Sun., 3 & 8 p.m.; thru Nov. 4. (818) 508-7101. (LE3)

THE DANCE OF THE LEMONS In her solo show, Karen Kay Woods flies through her saga as a substitute music teacher in the Los Angeles Unified School District. Perky and with blond curls, Woods has a kind of dimpled can-do charm in the face of a charmless bureacracy. Under the direction of Ann Starbuck, who helped create and develop the piece, One wishes Woods would occasionally take a breath, not only to allow acting moments to settle in, but a philosophical breath that would reveal some change of heart rather than merely a change of career. MADRID THEATER, 21622 Sherman Way, Canoga Park; Sat., Sept. 22, 8 p.m. Then at PAUL E. RICHARDS’ THEATRE PLACE, 2902 Rowena Ave., Silver Lake; Sat., 8 p.m.; Sun., 7 p.m.; thru Nov. 18. (866) 811-4111. (SLM)

GO DARK PLAY OR STORIES FOR BOYS Playwright Carlos Murillo tells us that his play refers to dangerous games, where some players know they’re playing, while others are involved without their knowledge. Fourteen-year-old Nick (Stewart W. Calhoun) takes this concept to the Internet. Though he looks innocent and angelic, Nick is a perverse master-manipulator. The game grows crueler, more complex and more perilous, till both boys are entrapped in it. Murillo’s play is strange, haunting and clever, and director Michael Michetti gives it a stunning, beautifully acted production. THEATER AT BOSTON COURT, 70 N. Mentor Ave., Pasadena; Thurs.-Sat., 8 p.m.; Sun., 2 p.m.; thru Nov. 18. (626) 683-6883. (NW)

GO THE DRAWER BOY Michael Healy’s moving play, based on the true adventures of a Canadian acting troupe, uses storytelling as its central theatrical conceit, and theme. In 1972, some Toronto actors created a docudrama after living and working with family farmers. Chris Brown directs Healy’s often weighty script (leavened with flashes of bright humor) with a kind of meticulousness that perfectly draws out every moment of frivolity and gravitas. However, he does have a very gifted cast to work with. The physical production elements are superb, particularly Craig Siebels’ simple farmhouse set. NOHO ARTS CENTER, 11136 Magnolia Blvd., N. Hlywd.; Fri.-Sat., 8 p.m.; Sun., 3 p.m.; thru Nov. 11. (818) 508-7101. (TP)

THE ROOT Playwright Gary Richards sets out to prove the old saw that money is the root of all evil in this oddball crime melodrama involving a Queens gas station. Vinnie (Jon Manfrellotti) is a fundamentally decent guy whose participation in an illegal scheme has cost him his wife, his child and the respect of his father. The result is a comedy melodrama with a quartet of eccentric characters, efficiently staged by Ken Meseroll and acted with verve. ARK THEATRE COMPANY, 1647 S. La Cienega Blvd., L.A.; Thurs.-Sat., 8 p.m.; Sun., 7 p.m.; thru Nov. 17. (323) 969-1717. (NW)

SPRING AWAKENING An ambitious production company and dedicated ensemble work with a translation and adaptation (respectively by Francis J. Zeigler and director August Viverito) of Frank Wedekind’s 1906 drama. The play’s main ideas concern the high cost of sexual awakenings among schoolchildren in a sternly moralistic and sexually repressed society. This production may have been inspired by the success of the rock musical adaptation on Broadway. The scale of woe (pregnancies and suicides) is operatic, so that in our age, at least, all that emerges from playing it as realistically as they do here is overwrought melodrama. The Production Company at THE CHANDLER STUDIO THEATRE CENTER, 12443 Chandler Blvd., N. Hlywd.; Fri.-Sat., 8 p.m.; Sun., 3 p.m.; thru Oct. 27. (310) 880-1016. (SLM)

GO BOB & ED’S DISCOUNT ENLIGHTENMENT WAREHOUSE Bob and Ed (co-writers Bill Jenkins and Jim Rasfeld) are a pair of checker-suited con men trafficking in self-help theologies on the cheap. The culminating enlightenment showdown between a Catholic father (Brian Hamill) and son (Greg Tuttle) comes out of nowhere and returns there, but the appearance of a distracted, sex-addicted God (Wade Kelley) in sports shirt and sneakers makes it all worthwhile. Jane Morris has the sketch comedy glee down pat, as do her actors. FANATIC SALON THEATER, 3815 Sawtelle Blvd., W.L.A.; Sat., 8 p.m.; thru Nov. 17. (310) 795-7469. (SLM)

GO THE HASTY HEART In John Patrick’s sentimental play, produced on Broadway in 1945, director Michael Rothhaar offers such a restrained yet detailed staging, the three acts move swiftly. In a British army hospital in Burma during World War II, Yank (Keith Stevenson), Digger (Nathan Mobley), Kiwi (Michael Balsley) and Tommy (Ron E. Dickinson) cheerfully endure tropical heat and slow recoveries until the arrival of Lachy (the excellent Scott Jackson), a laconic, grumpy Scot. Only hard hearts will be able to resist the playwright’s belief in the redemptive power of friendship. PACIFIC RESIDENT THEATER, 703 Venice Blvd., Venice; Fri.-Sat., 8 p.m.; Sun., 3 p.m.; thru Nov. 18. (310) 822-8392. (David Mermelstein)

GO INNOCENT WHEN YOU DREAM When Dan (Sab Shimono), a third-generation war veteran, suffers a debilitating stroke, playwright Ken Narasaki takes us inside Dan’s head, reliving a former romance; his service in the all-Japanese-American fighting unit that became the most decorated outfit in U.S. Army history; and his experiences with the prejudices and resentments of postwar America. Narasaki’s script is a moving, lingering glance at an intersection of history and memory. Director Alberto Isaac delivers a nuanced production with splendid performances. Timescape Arts Group at ELECTRIC LODGE, 1416 Electric Ave., Venice; Fri.-Sat., 8 p.m., Sat.-Sun., 3 p.m., thru Oct. 28. (800) 838-3006. (NW)

THIS LIME TREE BOWER Irish playwright Conor McPherson writes about aimless men who drink too much, sleep with the wrong women and puzzle over their lives. His triptych of intertwined monologues evolves in a sleepy seaside town where three brothers and their sister’s fiancé reside. Under Alan Miller’s direction, the performers are positioned in separate crannies of the stage, each spinning his tale with few of the crescendos that would give these involving stories the emotional strength they deserve. ODYSSEY THEATRE ENSEMBLE, 2055 S. Sepulveda Blvd., W.L.A.; Thurs.-Sat., 8 p.m.; Sun., 2 p.m.; (some added perfs, call for schedule); thru Nov. 11. (310) 477-2055. (DK)